Buy Now $10

Present Without A Trace embodies spontaneous ‘on the spot’ composing and intense improvisation and demonstrates Tisziji’s ability to transform negative, emotional conflict into beautiful, peaceful musical resolutions.

♥ learn more

  1. Confrontation 10:08
  2. Presence 11:21
  3. The Dance of the Visionaries* 6:56
  4. Without A Trace 9:22
  5. Dearly Responsible 9:27
  6. Understanding (Sweet Difference To Time) 8:56
  7. Never Again 9:38

Tisziji Muñoz: Guitar, Keyboard Synths
Rashied Ali: Drums and Percussion
Bernie Senensky: Piano
Don Pate: Bass
*Pharoah Sanders: Saxophone

Produced by Tisziji Muñoz
All Compositions by Tisziji Muñoz – Anami Music, BMI

Recorded on October 11, 1997 at
Rashied Ali’s Survival Studio in Soho, New York City
Recording Engineer: Mike Muñoz
Mastered by Tisziji and Mike Muñoz at
Sweetfish Recording Studios, Argyle, NY
Assistant Engineers: Nancy and Rebazar Muñoz,
Larry Voelker, Mark Fuller & Mike Hostettler


The Wire

February 2001 by Julian Cowley

Tisziji Muñoz – “Confrontation” from Present Without A Trace

“Shit, this isn’t this unknown New Yorker? I think I have heard this. This guy has been around since the 60s. A guy played this to me in the Downtown Music Gallery, which is a very good store in New York. It was like, ‘This is this unsung genius’. And I liked it. It’s very much out of [John] McLaughlin, if you ask me. This reminds me a lot of the Mahavishnu style, early McLaughlin, maybe a little more abstruse. What’s his name?

“Tisziji Muñoz. He’s played with Pharoah Sanders on and off for 25 years. Rashied Ali is on drums here.

“It’s really good. I wouldn’t categorize it as jazz or rock. Do you know who I think is the best exponent of this style of guitar? Ollie Halsall. He could play the shit out of this frenetic jazz rock stuff. This kind of really athletic free jazz style on guitar, he was my favourite. It’s good. I occasionally dip into this bag. The trick with this kind of music is to vary dynamics and textures, because if you do too much of it, it’s like too much of anything. After a while it just congeals as the wall of sound, and it can be something people don’t want to scale, do you know what I’m saying? It’s daunting and I want to draw people in. But a little of it is great, it’s bracing.”